Silvana DeLuigi | Yo! | American Clavé

When Kip Hanrahan asked me a couple of years ago whether I was interested in doing a record with him, I immediately said yes. But when the moment came to decide on a title, I did not know what to propose. What kind of name could describe something which sounds different from everything I’ve done – and heard – before. I spontaneously pronounced the word “Yo.” It was the simplest expression for me, having given everything I had, including my very own musical and emotional self, into the hands of a musician and producer whom I trust blindly. For me, Kip is the only person capable of recognizing, understand, and transforming into a record my ages old desire to trespass the musical conventions of a music which is mine: which I grew up with, which I love – but which I had to leave behind in order to confront it from a new angle – and make it mine: the tango. So therefore “Yo” stands for a record whose songs may sound familiar, but are completely personal to me. Most of them have been with me since my early youth. Some I had inherited from Argentine popular culture, some came to me from Brazil. Some were offered by Kip and his friends, who all helped me to realize this dream: to look back on my town, my country, my culture, my life – and my music. — Silvana Deluigi Continue reading

Kip Hanrahan | Desire develops an edge | American Clavé

The center of gravity of this record was formed by the labor of Kip Hanrahan, Jack Bruce, Steve Swallow, Puntilla Orlando Rios, Arto Lindsay, Elysee Pyronneau, Scott Marcus, Jon Fausty and David Rodriguez. Among others who sold or contributed their work, time and talent to the project were Ricky Ford, Ignacio Berroa, Jerry Gonzalez, Alberto Bengolea, Ti’Plume Ricardo Franck, Olufemi Claudette Mitchell, Jamaaladeen Tacuma, Milton Cardona, John Stubblefield, Tico Harry Sylvain, Daniel Frieberg, Nancy Weiss, Yale Evelev, Paul Haines, Frisner Augustin, Molly Parley, Anton Fier, Sergio Brandao, Marlene Freeman-Semels, Jean Claude Jean, John Scofield, Jody Harris, Yoram Vazan, Edwin Ayala, Frank Rodriguez and Ralf Ridao. It was recorded during July, August and September 1982 and April and June 1983. The editing, overdubbing and mixing were done during October 1982 and January, March, April, May, June and July 1983. All the work was done at Latin/Eurosound Studios, New York City. Continue reading

American Clavé | Anthology 1980 – 1992

HOW TO CREATE AN AMERICAN CLAVE: PRAISE/SONGS FOR A RECORDING PROJECT Begin with two measures of music: three rhythmic strokes in the first measure, two in the second, sounded by wood on wood. You have then the Clave, the basic building/block of salsa, of Afro-Cuban jazz. But what magic transformation occurs when you think of musics under the umbrella of a label like “American Clave?” A rashly superficial assumption runs: salsified jazz, perhaps improvised Tin Pan Alley standards bongoed-up, Sten Kentonized-up, blaring brass choruses meeting a small battalion of percussion. That would be an easy enough music to create and sell, the “how to” established in recording studios and recording company executive suites for a half century. Thank the gods that Kip Hanrahan is one of those who the poet Rilke would have identified as a “lover of the difficult.” This recording project refused that easy way out, that casual slide Latinizing American standard tunes would have represented. This is a story of a musical visionary embracing an American spirit of radical invention, taking on the alchemy of how to make an American Clave. Listen to the beats of different drummers under the enchantment of gods who still ponder what kind of experiment America is…–Norman Weinstein Continue reading

Evan Parker | Barry Guy | Paul Lytton | Live at Maya Recordings Festival | No Business Records

As a musician Evan Parker is a man of many faces. On the one hand he is always looking for new collaborations like on C-Section with electronic madman John Wiese (Second Layer Recordings), Live at Akbank Jazz Festival (Re:konstruKkt) with the Turkish group konstruKt or ‘Round About One O’clock (Not Two) with Slovenian drummer and percussionist Zlatko Kaučič. On the other hand he likes long time relations like his Electro-Acoustic Ensemble (although many new members have been added to this project), the legendary Schlippenbach Trio (as to persistence the Rolling Stones of free jazz) and the Evan Parker Trio (with Barry Guy on bass and Paul Lytton on drums). — Martin Schray Continue reading

Correction with Mats Gustafsson | Shift | No Business Records

The inmates riot in the House of Correction. The girls who put up postcards in London telephone boxes – are telephone boxes used for anything else now? – offer correction among other delights. The ticker-tape in newspaper offices – also not much used now – hesitates on a story, flags CORRECTION, and adjusts the casualty figures up or down. We know what the word means, and what it means is somewhere on the pleasure/pain divide, somewhere between sticking to and breaking the rules, some measure of restraint coupled to a throwing over of all restraint. — Brian Morton Continue reading

The Convergence Quartet | Slow and Steady | No Business Records

Free music is no simple matter. It can work marvelously when the chemistry between players is right. Or it can earnestly go along but never quite reach a collective point of convergence. Happily, the group named after such occurrences, the Convergence Quartet, achieves such a state consistently and rewardingly on their album Slow and Steady (No Business NBCD 53). — Grego Applegate Edwards Continue reading

Lo Galluccio

Lo Galluccio is a vocal artist and poet who’s first CD, “Being Visited” was released on the Knitting Factory label in 1997. NY Dj Vin Scelsa called it “By turns, mysterious, seductive, surreal and spacy.” She first started working with the Jazz Passengers, co-writing a song with Roy Nathanson for the “In Love” CD on the Windham Hill/High Street label, co-produced by Hal Willner. In the mid 90’s she had an avant-rock band called, “Fish Pistol” with slide guitarist wizard Dave Tronzo, bassist Brad Jones, and various drummers including Ben Perowsky. The band played many downtown NYC clubs like Fez and the Mercury Lounge. She’s also sat in with the bands “Sex Mob” and collaborated with Jim Pugliese of “Soultronix”. Continue reading

Satoko Fujii New Trio | Spring Storm | Libra Records

Yes, a new trio, based in Japan, and featuring Satoko Fujii on piano, Todd Nicholson on bass, and Takashi Itani on drums. Musically, we’re somewhere between the drive of the Fujii’s Quartet and the jazzier feel of her Trio, with also something more evanescent. Six new compositions with strongly established themes tied together by arrangements that leave room for surprises. Itani’s playing is vivid and octopusian (and reminiscent of Yoshida Tatsuya). To tell you the truth, Spring Storm is a little bit of unknown surrounded by a lot of known, for, new or not, this trio is 100% Satoko Fujii. — Monsieur Délire Continue reading

Barry Guy New Orchestra (small formations) | Mad Dogs | Not Two Records

In László Krasznahorkai’s The Melancholy of Resistance, the defeated musicologist Mr. Eszter, distraught at the fraud of equal temperament (which fakes the elegance of pure tuning), decries that the “world […] was too full of the noises of banging, screeching and crowing, noises that were simply the discordant and refracted sounds of struggle, and that this was all there was to the world if we but realized it.” It may well be that the world can be heard in bangs and screeches and crows; however, not all are the product of struggle. Some arise from the joys of cooperation, exploration, innovation, even downright Dionysian celebration and excess. These are the bangs and screeches of Mad Dogs, and they are a rallying cry for a world (or at least music) we can be proud of.– Dan Sorrells Continue reading

Roby Glod | Roberta Piket | Mark Tokar | Klaus Kugel | Op der Schmelz – Live | Nemu Records

This album is a winner from the git-go. Brooklyn-based pianist Roberta Piket summons the spirits with a gentle, but emotionally direct solo piano rumination. Harmonically rich, with a probing depth that brings Paul Bley and Steve Kuhn to mind, Piket’s invocation is just the first in series of golden moments on Op der Schmelz Live. A co-operative quartet comprised of Piket, veteran German drummer Klaus Kugel, the energetic Ukranian bassist Mark Tokar, and the Luxembourg-based French saxophonist Roby Glod, their first album as a unit is actually named for the venue in which it was recorded. Op der Schmelz, in Dudelange, is an historic foundry and ore smelting facility that has been transformed into Luxembourg’s premier performance space. One thing that’s immediately apparent: it’s a fine choice for a live music performance. The crystalline recording has incredible depth and detail, and should please audiophiles looking for a peak jazz experience. You may not even realize that this was a live recording until you hear the smattering of applause at the end of the first track. — Dave Wayne Continue reading